Filippo Tommaso Marinetti

Filippo Tommaso Marinetti

Filippo Tommaso Marinetti (born December 22, 1876 in Alexandria , Egypt , † December 2, 1944 in Bellagio , Italy ) was an Italian writer , fascist politician and founder of futurism .

youth

Plaque on Marinetti's house in Milan

Marinetti was born on December 22, 1876 in Alexandria, the son of a successful Italian lawyer. He spent his youth in Egypt, where he - like many children of wealthy Italians at the time - was brought up in French. After his expulsion from the local Jesuit school because of activities critical of religion, he finished his high school studies in Paris . He was enthusiastic about Paris:

“Alone in Paris. Seventeen years. All the grisettes of the Latin Quarter . All student riots. A very bad math exam, but a triumphant one on Stuart Mills theories . I came to Milan as a 'bachelier des lettres', educated French, but indomitable Italian, despite all Parisian magic. "

After graduating from high school, he studied law in Pavia and Genoa . Mentally thrown out of his career as a lawyer by the sudden death of his brother, he decided to work as a writer after completing his studies, following his inclinations. He initially chose Paris as his place of residence and wrote his works in French . In addition, he was the editorial secretary of the Paris newspapers “La Vogue” and “La Plume” . His first book, marked by symbolism , “La Conquête des Étoiles”, was published in 1902. This was followed by “Destruction” (1904), “La ville charnelle” (1908) and the play “Le Roi Bombance”. These early works mainly reflect the emptiness and mendacity of the upper class life of the fin de siècle . The then virulent cultural pessimism is particularly expressed in the "Roi Bombance".

Imprints

Symbolists and anarchists

In Paris, he was mainly influenced by his circle of friends, which included symbolists such as Guillaume Apollinaire , Joris-Karl Huysmans , Stéphane Mallarmé and Paul Valéry . With them he shared not only the contempt for the bourgeoisie, which was considered corrupt, but also a preference for the extravagant, the danger and the violence. This avowal of violence brought him close to the anarchists who at the time kept Paris in suspense with bomb attacks and bank robberies. Together with his circle of friends, he generally welcomed these attacks because he saw them as a symbol of liberation from psychologically cramped living conditions. According to Octave Mirbeau , the detonations of the attacks sounded like "the rolling of thunder that precedes the joy of the sun and the peaceful sky." Assassins such as Emile Henry, Auguste Vaillant and Ravachol were celebrated as heroes. Leading theorists of anarchy such as Georges Sorel provided the theoretical superstructure for these acts of violence . The young Marinetti was particularly impressed by Sorel, who in his “Réflexions sur la violence” (reflections on violence) stylized violence and revolt as a political doctrine. Sorel also expressed this in a manifesto with which he went public in 1907. In it he took the opinion that the violent class struggle was a contribution to the recovery and strengthening of society. The “proletarian violence” in the shape of Bergson's “ élan vital ” could create new ethical values ​​and save the world from the “destruction of barbarism”. This set of ideas and the cry “Long live violence against everything that makes our life ugly!” Will soon be found again - slightly varied - in Marinetti's manifestos.

Gabriele D'Annunzio; Benedetto Croce; Giovanni Gentile

The creator of the myth of the poet-fighter (poeta-condottiero) Gabriele D'Annunzio was also very close to Nietzsche . In addition to him, Marinetti had also dealt with the two most important Italian intellectuals Benedetto Croce and Giovanni Gentile of his time. Both came from liberalism , but with their philosophy they reached beyond the positivism of Auguste Comte and the historical materialism of Karl Marx and were committed to idealism as a philosophical movement. For Croce, history is not determined by material aspects, but shaped by ideas. For him these ideas do not arise from a scientific calculation, but from that unreal, passionate character which he regards as part of the anthropological constant of man. Futurists like Giovanni Papini and Giuseppe Prezzolini carry on these ideas in a futuristic sense in their magazine La Voce, founded in 1908 . In the process, however, there was an apology for irrationalism, which suddenly made Croce appear as a pioneer of futurism, which is to be assessed as ahistorical. For Croce, the irrational in humans was also calculable, since it could also be the bearer of values ​​and ideals. Croce was not about to create a new person and "... a new world, but to work on the old world, which is always new," which also includes a return to traditions such as "the king, the fatherland, the city, the Nation, Church, Humanity ”included. These, too, were views that were by no means compatible, at least with pre-war futurism.

Women

His experiences with women had an influence on Marinetti's philosophy that should not be underestimated. The three phases of this relationship history (negative experiences with prostitutes, ego-promoting sexual experiences as a soldier and fulfilled partnership as Benedetta Cappa's husband ) were clearly reflected in his manifestos and his concrete behavior.

The futuristic manifesto

Wall poem in Leiden

In 1905 Marinetti moved to Milan and founded the magazine Poesia there . This magazine became the mouthpiece of a group of young writers who called for a radical change in Italian literature.

In 1909 Marinetti went public with the futuristic manifesto , which he presented on the front page of the Paris daily Le Figaro on February 20 . A long, poetic prologue, which gives the (false) impression of a collective of authors, is followed by eleven “programmatic points” with which Marinetti claims not only to launch a new art direction, but also a culture that encompasses all areas of life, culture of futurism. In his 11 theses, he especially glorifies violence and war, the “only hygiene in the world”. Also praised is "the anarchist act ... the aggressive movement, the feverish insomnia, the running step, the somersault, the slap and the punch."

Characteristics of the manifesto

Movement and speed

“We want to sing about the love of danger, the familiarity with energy and audacity. .. We declare that the glory of the world has been enriched by a new beauty: the beauty of speed .. We want to sing about the man who holds the wheel, whose ideal axis crosses the earth, which itself hunts along on its path. "

Violence, recklessness, aimlessness

Violence is experienced as a spontaneous expression of strength, vitality and acting out of frustration. Characteristics of this violence: hedonism, cruelty, injustice, ruthlessness, moral freedom, aimlessness. Part of this philosophy is the masochistic striving for self-destruction or extinction by the next, stronger generation:

“… They will surround us noisily, panting with fear and malice, and embittered by our proud, unwavering audacity, they will pounce on us to kill us, and the hatred that drives them will be unforgiving because of their hearts will be full of love and admiration for us. "

Rejection of nature

Marinetti's favorite places to stay are the rapidly growing, noisy cities, in which he wants to sing about the great crowds, "which are caused by work, pleasure, or riot"; he also wants to operate the train stations, the factories, and above all the new machines, to finally become a machine man yourself.

Rejection of tradition

Marinetti is irreconcilable towards the culture of bygone times, he sees it as a burden for every artist and as a provocation for all people who look to the future. In addition to smaller works of art and buildings, entire cities, such as Venice, are the target of his (verbal) destructiveness. He also wants to destroy all museums, academies and libraries. For him they are “graveyards of fruitless efforts”. He regards the administrators of such "cemeteries" as professors, archaeologists, tourist guides and antiquarians as "cancerous ulcers". His demand:

“Put a fire on the library shelves ... Redirect the canals to flood the museums! ... Seize the picks, the axes and the hammers and tear down, tear down the venerable cities without mercy! "

Rejection of women

The basic motif is "The contempt for women". Marinetti wants to solve the problem of reproduction with the "metallized man" who, insensitive to female stimuli, has the ability to reproduce himself.

The reception of the manifesto

It is understandable if Marinetti, with his postulate of the aimless destruction of current structures, addressed both the violent groups of left and right as well as the anarchists. These groups had a broader base than today. At least until his reconciliation with Mussolini in 1924, he made no secret of the contempt for the reformist left and the right willing to compromise . He dedicated his "satirical tragedy," which he presented as the "result of two years of reflections and reflections on the socialist movement of Europe", with Filippo Turati , Enrico Ferri and Arturo Labriola to the leaders of the reformist left in his country. The play was intended to highlight the "falsehood of socialism, the glory of anarchy, and the utter ridiculousness of the middlemen, reformists and other cooks of the common good."

Marinetti used the interest aroused primarily in artistic circles to create the broader base that was still feigned in the Manifesto and to rally other Italian artists as well as writers, which was also successful.

The psychoanalyst and philosopher Erich Fromm dedicates part of his book Anatomy of Human Destructiveness to the first and second futuristic manifestos . Fromm sees the First Manifesto as the earliest evidence of necrophilia , which he identifies as one of the sources of human destructiveness. He justifies this with the worship of dead things like fast machines and the glorification of the gigantic. In addition, he sees the fundamental ideals of the manifesto realized in the goals of the Third Reich .

The futuristic practice

Looking at the large number of events and other activities of the group, it becomes clear that, in addition to charisma, a lot of money was required to get the movement going and to keep it going. Marinetti brought this money from his father's inheritance. This enabled a number of predominantly young Italian artists to swear to Futurism, to stimulate relevant works and to present themselves publicly together.

Futuristic evenings

Marinetti's Futuristic Evenings, which were mainly held in northern Italian theaters, did a lot to spread the group's ideas. They basically began by verbally degrading the respective city and insulting their notables. Then manifestos were read out, futuristic works of art were shown, futuristic music played and excerpts from futuristic theatrical art were offered. From Marinetti's point of view, the presentation could only be rated as a success if it broke out into tumults, which were at least picked up by the local media.

Futuristic traveling exhibition

With Marinetti's support, the commercially successful series of exhibitions that began on April 30, 1911 in Milan could finally begin. In 1912 the exhibition went abroad, where it was to remain until the outbreak of war. The most important stops were London (2 ×), Berlin (2 ×), Vienna, Brussels, The Hague, Amsterdam, Munich, Budapest, Rotterdam, Karlsruhe, Leipzig, Rome and St. Petersburg. Everywhere one was impressed by the variety and urgency of the performance, the effect on the local art scene was different, but mostly measurable.

Art movements in futurism

Alongside literature, painting became the leading art direction in Futurism. Umberto Boccioni presented her manifesto as the undisputed doyen of the group on February 11, 1910 in Turin. The all-rounder Boccioni was also a leader in sculpture. Its original forms of movement in space are now considered icons of futurism. The architecture was represented by Enrico Prampolini and especially Antonio Sant'Elia . The futuristic music is closely associated with the names Francesco Balilla Pratella and Luigi Russolo . He replaced music with the art of noise. The futuristic or synthetic theater was a domain of Marinetti, but Giacomo Balla and Fortunato Depero were also active in this field. The film in futurism was carried by Anton Giulio Bragaglia , but received less recognition from decision-makers like Boccioni than the other areas. Marinetti was dominated by futuristic literature. With his “liberated words” he not only overruled the syntax, with letters and words in different sizes, different fonts and in different orientations he blurred the boundaries to graphics. He was by no means alone in this area.

Finally, politics also came into play with futurism. So the year 1914 forced an opinion for or against Italy's entry into the war. The futurists voted for war and took to the streets for it. Marinetti, Boccioni and Russolo were arrested in September 1914 for burning Austrian flags in the course of an interventionist event in Milan. The brief stay in prison was followed by the “Futuristic War Synthesis” manifesto, in which the support of the Futurists for an intervention by Italy in the spirit of the Irredenta was expressed.

The First World War

In 1915 Marinetti joined the "volunteer cyclists and motorists" with several other futurists. After this formation broke up, Marinetti joined the Alpini , the Italian mountain troops, with whom he fought a few battles and was honored for this. However, his extensive work during this period shows that his superiors showed a great deal of understanding for his political-futuristic activities.

For futurism, war becomes a turning point. Even before the start of the war, the solidarity in the ranks of the leading futurists had loosened alarmingly. This was not least due to Marinetti's political ambitions, which robbed the successful artists of a lot of time and endangered the elitist character of the group through numerous new recordings. Boccioni in particular, arguably the most versatile and financially successful futurist, resisted this development and expressed this in his book on futuristic painting and visual arts, which was published in April 1914. The claim made in the book to be regarded as the greatest talent of the Futurists and as their most important theoretician led to disagreements, especially with Marinetti and Carrà, who was criticized in the book.

An article written by Papini , Palazzeschi and Ardengo Soffici and published in Lacerba on February 14, 1915 under the title "Futurism and Marinettism" drove another wedge into the community . The authors differentiated here between the “real” futurists Carlo Carrà , Gino Severini and Tavolato and those who were unfaithful to the principles such as Umberto Boccioni , Giacomo Balla , Francesco Balilla Pratella , Luigi Russolo and Marinetti.

The depth of the caesura was ultimately determined not by words, but by the war losses. A total of thirteen futurists lost their lives and forty-one were wounded. Among the dead was the architect Sant'Elia and Boccioni, who fell from his horse in 1916 without enemy action and died soon afterwards.

For Marinetti, the war had only changed his attitude towards women. The sexual experiences of the adult Marinetti led him to the realization that intimate relationships with women can at least help promote the ego and preserve male identity. A manifesto on pleasure reflects these new views.

Marinetti and fascism

Marinetti and the Futurist Party

After the war, due to unemployment, hunger, strikes, riots and broken finances, public life was explosive and marked by “psychological, moral, cultural and social discomfort”. Marinetti, among others, offered himself as a mouthpiece for the disoriented and dissatisfied. His serious entry into politics did not take place until 1918 with the "Manifesto of the Futurist Political Party" and the establishment of the Futurist Party. The party program contained demands such as the abolition of the monarchy and the papacy, the socialization of property, large fortunes, mineral resources and water, the taxation of inherited wealth, the eight-hour day, equal wages for men and women, freedom of the press, free legal representation, consumer protection, divorce and a gradual reduction of the standing army. Marinetti's movement was under the motto: "Art and artists in power". Although this expressed the rather elitist, playful and aesthetic reference to the political game of forces, it was nevertheless possible to win over a number of interesting artists and activists, some of whom were to make careers in the fascist movement, such as Piero Bolzon , Giuseppe Bottai , the writer Mario Carli and the sculptor Ferruccio Vecchi, as leaders of the Arditi military commando . The lack of attempts to create a mass base reinforce the impression that Marinetti wanted to raise the all-encompassing claim of futurism in the political field. Margit Knapp-Cazzola therefore takes the opinion that one can describe the social politics of the millionaire Marinetti as neither reactionary nor revolutionary, since this topic "never concerned him particularly".

Marinetti and Mussolini

The first meeting of Marinetti and Mussolini took place in 1914, when Italy's entry into the war was hotly debated, especially on the left. As militant interventionists, they held events that Marinetti organized and featured Mussolini as the keynote speaker. After the war, Mussolini loosely grouped the violent right-wing scene, which consisted of disappointed war returnees, radical republicans and national socialists and who had come together in local groups (Fasci), to form the patriotic Fasci di Combattimento . On March 23, 1919 Mussolini founded the Fascist Party of Italy , in which the Futurist Party was absorbed, which helped Marinetti to second place on the list. As far as the party program is concerned, the nationalist, anti-clerical and social-revolutionary profile of the futurists had been adopted almost entirely, Vecchis Arditi were incorporated by Mussolini as fasci futuristi . With this program, the fascist list could only appeal to 4,000 voters in the October 1919 elections. After the elections, the actions of the black shirts continued regardless of the outcome of the election and gradually took on features similar to civil war. Marinetti moved further and further to the left and, citing Garibaldi , attacked not only the monarchy, the Pope, the bureaucracy and marriage in fiery speeches, but also pleaded for the abolition of the standing army, the courts, the police and the prisons . Mussolini now had to make a directional decision. The alternatives were few. The way to the left was blocked. Since he was removed from the party executive and the party as an interventionist warmonger and as editor-in-chief of the party newspaper before the war, he was treated as a traitor there and several attempts at mediation had failed. The way to the right to a reconciliation with the "Drei K" (Church, King, Capital) was basically open to him, only his own party program was in the way.

The separation of Marinetti from Mussolini

When Mussolini suddenly began to bet on the bourgeois card after the disastrous election failure in 1919 at the second Fasci party congress in 1920 and said that “one should not sink the bourgeois ship, but go on board to throw the parasitic elements overboard”, they fell Mixed reactions. In addition to several Squadristi, the futurists Marinetti, Carli and Vecchi also left the movement. They continued to advocate the devaticanization of Italy, were against the monarchy and for proletarian strikes. On his spectacular exit, Marinetti described the rest of the party assembly as a “bunch of Passatists”. "Passatist" was a neologism derived from passato - outdated, bygone. The fight against any kind of passatism was one of the dogmas of futuristic aesthetics from the very beginning. Meanwhile, Mussolini classified his comrade-in-arms as an "extravagant clown who plays politics and whom nobody, least of all me, takes seriously."

On October 30, 1922, Mussolini was appointed head of government by the king. At that point, Marinetti and the Futurists were no longer politically involved.

After leaving the party, Marinetti said goodbye to political futurism with his manifesto “Al di là del comunismo” (“Beyond Communism”) with a commitment to the anarchist, violent roots of the futurists and did not spare praise for the protagonists of the October Revolution. That earned Marinetti recognition from links. The Soviet People's Commissar for Culture, Anatoly Wassiljewitsch Lunacharsky , described him in 1921 as the “only revolutionary intellectual in Italy”. A little later, Antonio Gramsci , who later became the chief ideologist of the Italian Communist Party, found positive words for him:

“What else needs to be done? Nothing less than the smashing of the current culture ... The futurist destroys, destroys, destroys without caring about whether what he creates is really better than the old ... He has the clear idea that our era , ... requires their own art, philosophy, etiquette and language. This is a clearly revolutionary concept and an absolutely Marxist one at that, and that at a time when the socialists had not even remotely thought of such things. In their field of culture, the futurists are revolutionaries. In this field, that of creativity, it is unlikely that the working class will be able to hold a candle to them in the foreseeable future. "

The turning away from politics also had to do with Marinetti's renewed change in the image of women. He married Benedetta Cappa, his great love, for whom he violated the marriage ban of his own "Futuristic Manifesto of Lust".

Marinetti as a representative of the fascist regime

On October 30, 1922, Mussolini was appointed head of government by the king. In 1924 he took power alone. In 1924 Marinetti broke the silence on politics with the anthology "Futurismo e Fascismo". This document, which he dedicated to his “dear and great friend Benito Mussolini”, was an offer of peace to fascism. Marinetti declared in it the withdrawal of futurism from politics, but asserted the claim to leadership in the field of culture. Mussolini accepted the offer - with reservations. In 1929 Marinetti became a member of the new Akademie der Künste and with it an institution that he had fought fiercely until now.

With the Aeropittura e aeroscultura , which was inspired by D'Annunzio and established through manifestos by Mino Somenzi and Marinetti, and the aerospace literature that extended into space, Marinetti found another, broad field of activity that took up the old futuristic topoi of dynamics, progress and speed associated with patriotism, flying fieldism and subtle war propaganda. In 1931 the futuristic flight painting was launched for propaganda purposes and later went over to war painting without any problems, the Aeropittura di guerra .

The honor committee for the Berlin exhibition Aeropittura 1934 included not only Marinetti and the Italian ambassador Cerutti, but also the members of the Reich government Goebbels and Göring . Futurism had the status of the state. When Marinetti was welcomed by the poet Gottfried Benn in Berlin in 1934 on behalf of the Union of National Writers as “Excellency Marinetti, Leader of the Futurists, Member of the Royal Italian Academy and President of the Italian Writers' Union ”, the role of futurism in the context of established fascism was already clear . Marinetti did not succeed in enforcing Futurism as the official art movement of fascism, but he was able to establish it as the most important style of fascist Italy alongside the 'Passatist' Novecento preferred by Mussolini . Futurism served to convey a dynamic, future-oriented character of the new Italy.

That Futurism was very much alive under Mussolini and was able to maintain its position in relation to the Novecento can be seen from the numerous manifestos of this time. With the "tattilismo" (contact-seeking touch with the aim of building social relationships) he also created a new social approach. This clear break with the core principles of the basic asocial manifesto was based only in part on the striving for compatibility with fascist positions, the main reason probably in the final correction of his image of women in the course of his relationship with his wife Benedetta, which developed into great love beyond the artistic partnership would have.

In 1938, in Artecrazia magazine , Marinetti severely condemned Italian racial laws . The corresponding number of the magazine was confiscated by the censors. In the period that followed, the futurist opposed the campaigns of official art politics, which wanted to introduce a racial-oriented yardstick for art. Public opinion supported him, so that in Italy the defamation of degenerate artists was omitted.

The area where Marinetti deviated least from his first manifesto was in war. The war was imagined as an avant-garde festival of death. He wrote on the occasion of the Italo-Ethiopian War , in which he himself participated:

“The war is nice because, thanks to the gas masks, the terrifying megaphones, the flamethrowers and the small tanks, it establishes the rule of man over the machine. The war is beautiful because it inaugurates the dreamed-of metallization of the human body. The war is beautiful because it enriches a blooming meadow with the fiery orchids of the mitrailleuses. The war is beautiful because it combines the gunfire, the cannonades, the pauses in fire, the perfumes and the smells of decay into a symphony. The war is nice because it creates new architectures such as that of the large tanks, the geometric flying squadrons, the smoke spirals from burning villages and much more ... "

- La Stampa Torino, cit. after: Walter Benjamin: The work of art in the age of its technical reproducibility , Frankfurt / Main 2003, p. 42

In 1942 he moved with the Italian expeditionary force to the Russian front, where he was able to find positive poetic sides even in this disaster. He returned in 1943 as a sick man and stayed in the republic of Salò founded by Mussolini after his liberation . Shortly before his death, he praised the bravery of an anti-partisan unit of Mussolini, notorious for its cruelty. When he died on December 2, 1944 in Bellagio on Lake Como , his family had him buried quickly and quietly. However, Mussolini had him exhumed and made sure that he received a state funeral after a solemn lay-in in Milan .

Balance: Marinetti and fascism

When writing about Marinetti's relationship to fascism today, comparisons are made with German expressionists such as Gottfried Benn , who initially reacted to the National Socialists as positively as Ernst Jünger ; French intellectuals are also mentioned, above all Charles Maurras , who according to Ernst Nolte even became the central figure of the proto-fascist Action française , or Louis-Ferdinand Céline , who was able to gain positive sides from French fascism, or even some writers in Austria who tended towards National Socialism. Nolte thinks Marinetti is merely a picturesque side effect of fascism. George L. Mosse judges similarly when he describes the futurists as eccentrics at the court of power. Most of the understanding for Marinetti and the Futurists is found in Italy. The art historian Maurizio Calvesi rejects any “clumsy” identification of futurists and fascists; Maurizio Scudiero recalls "the obvious dovetailing [of the Futurists] with the left" and "the break that took place in May 1920 when Marinetti and the Futurists left the fascist 'combat groups' and opened up to the socialists". Scudiero particularly highlights Marinetti's Manifesto Al di là del comunismo , in which Marinetti “praised art as an alternative to politics and pushed aesthetic utopianism even further, ultimately rejecting any political commitment.” Other historians refer to the futurist Mino Somenzi , who At the beginning of 1933 - in the middle of fascist Italy - in the official newspaper of the Futurists wrote: "Futurism is an art and a way of life, Fascism a political and social form: diametrically opposed things." Giovanni Lista also sees this similarly and is convinced that that "... the individualistic, liberal and 'anti-traditional', avant-garde spirit of futurism ... was in complete opposition to the cultural politics of fascism, which aimed to restore Roman mythology and the canons of classical art."

Works (selection)

• La Conquête des Étoiles (1902).
• Le Roi Bombance: Tragedie Satirique En 4 Actes, En Prose (1905) , Reprint: Kessinger Legacy Reprints, ISBN 1166845958 .
• Manifeste de Futurisme (1909).
• Mafarka le futuriste (1910), German Mafarka the futurist: African novel , Munich: Belleville, 2004, ISBN 3.936298025.
• Le futurisme (1911).
• To the racing car (1912).
• The variety theater (1913).
• Come si seducono le donne (1916).
  • How to seduce women . Translated from the Italian by Stefanie Golisch. Berlin: Matthes & Seitz 2015, ISBN 978-3-95757-019-2 .
• Al di là del comunismo (1920).
• Il tamburo di fuoco (1923).
• Futurismo e Fascismo (1924).
• Novella colle labbra ink (1930).
• Password in Libertà (1932).
• La cucina futurista (1930), German: The futuristic kitchen , translated by Klaus M. Rarisch , Klett-Cotta, Stuttgart 1983 ISBN 3-608-95007-9 .
• Il poema africano della Divisione 28 Ottobre (1937).

• Marinetti, Filippo Tommaso: Teoria e invenzione futurista , Milano: Mondadori, 1983, 1256 p.
• Marinetti, Filippo Tommaso et al .: There is no dog - the futuristic theater. 61 theatralische Synthesen und 4 Manifeste , Munich: Edition Text und Critique, 1989
• "The futuristic awakening of the avant-garde (1909–1916)" [numerous futuristic manifestos by Marinetti and others] in: Manifests and Proclamations of the European Avant-garde (1909–1938) , ed. by Wolfgang Asholt and Walter Fänders, Stuttgart and Weimar: JB Metzler, 1995, pp. 1–117
• Marinetti, Filippo Tommaso: Selected Poems and Related Prose , Yale University Press, 2002, ISBN 0-300-04103-9
• Marinetti, Filippo Tommaso: Critical Writings , ed. by Günter Berghaus, New York: Farrar, Straus, and Giroux, 2006, 549p., ISBN 0-374-26083-4 , paperback edition 2008: ISBN 0-374-53107-2

literature

• Ingo Bartsch, Maurizio Scudiero (Ed.): “... we machines too, we also mechanized! … “The second phase of Italian futurism 1915–1945. Bielefeld 2002, ISBN 3-933040-81-7 .
• Christa Baumgarth: History of Futurism (= Rowohlt's German Encyclopedia , Volume 248/249), Rowohlt, Reinbek near Hamburg 1966, DNB 455670447 .
• Ralf Beil: Artistic kitchen: food as art material from Schiele to Jason Rhoades. Cologne 2002, pp. 38–57, ISBN 3-8321-5947-9 (dissertation University of Essen 2000, 296 pages, under the title: Food as an art material - food for head and stomach - on dealing with alimentary realities from Schiele to Beuys ).
• Evelyn Benesch, Ingried Brugger: Futurism - Radical Avant-garde. Exhibition catalog. Ba-Ca Kunstforum, Vienna / Mazzotta, Milano / Milan 2003, ISBN 88-202-1602-7 .
• Angelo Bozzola, Caroline Tisdall: Futurism (= World of Art ), Thames and Hudson, London 1977-2010, ISBN 0-500-20159-5 .
• Maurizio Calvesi : Futurism. Munich 1975.
• Irene Chytraeus-Auerbach: Staged men's dreams . A study of the political self-portrayal of the Italian writers Gabriele D'Annunzio and Filippo Tommaso Marinetti in the period between Fin de Siècle and Fascism. (= Literary Studies in the Blue Owl. Volume 38), Die Blaue Eule, Essen 2003, ISBN 3-89924- 037-5 (Dissertation at the University of Marburg 2001, 329 pages).
• Erich Fromm : Anatomy of human destructiveness (Original title: The anatomy of human destructiveness. An authorized translation by Liselotte and Ernst Mickel). rororo-Sachbuch 7052, Reinbek bei Hamburg 1977 ff (German first edition by DVA, Stuttgart 1974, ISBN 3-421-01686-0 ), ISBN 978-3-499-17052-2 .
• Dietrich Kämper (ed.): The musical futurism. Cologne 1999.
• Manfred Lentzen: Italian poetry of the 20th century. From the avant-garde of the first decades to a new inwardness. Analecta Romanica series, issue 53. Klostermann, Frankfurt a. M. 1994, ISBN 3-465-02654-3 , pp. 41-49.
• Matthias Micus, Katharina Rahlf: The art of manifestation. Marinetti and the “Futurist Manifesto” . In: Johanna Klatt, Robert Lorenz (Ed.): “Manifeste”. Past and present of the political appeal (= studies of the Göttingen Institute for Democracy Research on the History of Political and Social Controversies . Volume 1), Transcript, Bielefeld 2011, ISBN 978-3-8376-1679-8 , pp. 99–112
• Antonino Reitano: L'onore, la patria e la fede nell'ultimo Marinetti. Angelo Parisi Editore, Carlentini 2006 ISBN 978-88-8860-269-1 (Originally presented in 2005 as a dissertation at the University of Catania , 97 pages).
• Hansgeorg Schmidt-Bergmann : Futurism - History, Aesthetics, Documents. Rowohlt, Reinbek near Hamburg 1993, ISBN 3-499-55535-2 .
• Regina Strobel-Koop: History and Theory of Italian Futurism. Literature, Art and Fascism (produced on demand ). VDM Verlag Dr. Müller , Saarbrücken 2008, ISBN 978-3-8364-8657-6 (Master's thesis HfG Karlsruhe 2004, 96 pages).

Web links

Commons : Filippo Tommaso Marinetti  - Collection of images, videos and audio files

Wikiquote: Filippo Tommaso Marinetti  - Quotes

• Literature by and about Filippo Tommaso Marinetti in the catalog of the German National Library
• Newspaper article about Filippo Tommaso Marinetti in the 20th century press kit of the ZBW - Leibniz Information Center for Economics .
• Manifesto del futurismo, 1909 (Italian)
• Marinétti, Filippo Tommaso in the Treccani encyclopedia

Remarks

1. ↑ Evelyn Benesch / Ingried Brugger (ed.): Futurism. Radical avant-garde (Vienna 2003) 14
2. ↑ uni-duisburg.de: "Le Futurisme"
3. ↑ Baumgarth. 23 ff.
4. ↑ Evelyn Benesch / Ingried Brugger: Futurism. Radical avant-garde (Vienna 2003). 265
5. ↑ Erich Fromm: Anatomy of human destructiveness (Hamburg 2008)
6. ↑ Fromm, p. 27
7. ↑ Fromm, p. 387ff
8. ↑ Baumgarth. 49 ff. The technical manifesto: Baumgarth. 181 ff.
9. ↑ Tisdall / Bozzolla. 200
10. ↑ Tisdall / Bozzolla. 201
11. ↑ Nike Wagner: somersault mortale in the future. Marinetti and the tabula rasa of futurism , Frankfurter Allgemeine Zeitung, Saturday, March 6, 1999, number 55
12. ↑ Maurizio Scudiero: The Metamorphoses of Futurism, in: Ingo Bartsch / Maurizio Scudiero (eds.) ... we machines too, we too are mechanized! ... The second phase of Italian futurism 1915–1945 (Bielefeld 2002) pages 26 and 27
13. ↑ Futurismo No. 27 of March 12, 1933
14. ↑ Giovanni Lista: What is Futurism ?, in: Ingo Bartsch / Maurizio Scudiero (eds.) ... we machines too, we too are mechanized! … The second phase of Italian futurism 1915–1945 (Bielefeld 2002) pages 30 ff.